| 课程号 |
01834330 |
学分 |
3 |
| 英文名称 |
Images and Society |
| 先修课程 |
社会理论相关 |
| 中文简介 |
影像是一种传播方式，与文字、声音一起构成了我们社会的表意体系。随着媒介技术的发展，现代社会的重要特征之一就是影像充斥了人们生活的每一个角落，一方面扩大了人们的感知范围与生活经验，另一方面又补充或替代了许多传统的表达方式，比如文字和交谈。与其他各类表意方式相比，影像的诱惑是显而易见的，因为它带给我们直观、感性、轻松和奇观式的表意体验，成为许多社会传播所青睐的媒介，而广告、新闻、宣传、娱乐等活动对视觉符号的偏爱又进一步推动整个社会走向影像爆炸，影像已经超越现象成为一道独特的社会文化景观。
这门课为喜爱和关注影像文化以及影像的社会建构与社会角色的学生设计。课程的重点在于介绍和讨论组成当代社会视觉文化的重要媒介—摄影、电影、电视和数字新媒体—以及这些媒介的技术性、社会性和文化性。本课程主要涵盖三个方面的内容：一是介绍视觉文化理论与社会理论，探讨视觉表意的技巧和方式，人们解读和体验视觉符号的过程，以及观看所造成的社会关系；二是简单介绍上述几种媒介出现、发展和成为重要传播媒介的文化史与社会史，重点在于这些媒介社会使用模式形成的过程和原因，考察技术与社会相互塑造和影响的方式；三是通过案例讨论影像与社会意识之间的互动，考察影像如何维护、质疑或改变现代社会中的一些重要观念，比如性别观念、有关自然和科学的观念、民族意识、阶层意识等。三个方面相互穿插，构成对影像与社会之间关系的批判性考察。
教材：本课程没有单一的教材，每节课都会有相应的阅读材料，推荐阅读的书单在最后列出。
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| 英文简介 |
Image making is an important communicative function in modern societies. With the development of media technologies, visual images are increasingly central to how we represent, make meaning and communicate in the modern world around us. The relationship between new ways of seeing brought about by new visual technologies and the cultural experience of modernity has long been documented by western social theories. This course hopes to explore how visual media played a part in the modernizing experience of 20th and 21st Century China. Chinese modernity is unique in the way that it is less influenced by industrialism than by political and cultural radicalism and dependent ideological conditions. Visual technologies such as printing, photography, film and television, along with other communication media, are important means through which modern ways of life are imagined and modern values mediated. The arrangement of the course is mainly thematic with strong historical perspective. Three themes, namely otherness and identity formation, gender visions and representations and urban/rural imaginations, will be the focus of our discussions in this course. The three themes are closely related to issues of modernity and modern imaginations, and visual cultures associated with the republic, socialist, radical and post socialist eras of Chinese history are discussed in terms of their mediation and creation of Chinese modernity in both its uniqueness and connection to a global pattern. |
| 开课院系 |
教务部 |
| 通选课领域 |
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| 是否属于艺术与美育 |
否 |
| 平台课性质 |
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| 平台课类型 |
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| 授课语言 |
英文 |
| 教材 |
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| 参考书 |
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| 教学大纲 |
Learning Objectives
Through this course, students will be able to:
1. Understand the extent and ways in which image culture shapes and influences contemporary societal popular concepts.
2. Have a basic understanding of the history and evolution of several major image media technologies and institutions, as well as preliminary knowledge of the methodology and problem framework for studying media social history.
3. Have a certain level of reading ability in visual culture theory to analyze various current social phenomena.
Course Outline
The course content is divided into three units, with a total of 15 classes. The reading materials listed below each class are essential and should be completed before class. The content of several discussion classes involves case analysis and extension of the previous weeks` lectures. The last reference book list is for optional reading.
**Unit 1: Visual Culture Theory and Paths of Visual Analysis**
**2/27** - Social Theory I of Visual Culture: What is "seeing"? The formation of vision and subjectivity; the sociality of seeing; the power relations established by seeing
Reading Materials: Michel Foucault, Part Three, Discipline, "Docile Bodies," "The Means of Correct Training," "Panopticism," Discipline and Punish: The Birth of the Prison, pp. 153-258
John Berger, "Ways of Seeing," 2, 3, pp. 35-67.
**3/05** - Social Theory II of Visual Culture: The emergence of visual modernity
Reading Materials: Martin Jay, “Scopic Regimes of Modernity” (Aesthetics of Modernity)
Tony Bennett, “The Political Rationality of the Museum,” in The Birth of the Museum: History, Theory, Politics. (Political Modernity)
**3/12** - Social Theory III of Visual Culture: Spectacle culture and modern technology; media events as representation means of modern mass media; the relationship between spectacle and social governance, social control, democratic politics, and civic participation
Reading Materials: David Roberts, “Towards a Genealogy and Typology of Spectacle: Some Comments on Debord,” Thesis Eleven 2003, 75: 54.
"Spectacular Aesthetics of the Beijing Olympic Opening Ceremony," Modern Communication, 2008, Issue 5
**3/19** - Understanding the Language of Images: Semiotics; Iconology; Contextualized Visual Culture Analysis Methods
Reading Materials: Laura Mulvey, “Visual Pleasure and Narrative Cinema.”
Roland Barthes, Mythologies, selected chapters
"Fascinating Patriarchy: Modernity and Masculinity in Korean Family Drama," News University, 2007, Issue 2.
**Unit 2: Visual Media Social History**
**3/26** - A Brief History of Photography: The relationship between photography as a new medium and painting; Art Vs. Science; Imagination Vs. Reality; Social Use of Photography
Reading Materials: Walter Benjamin, "Little History of Photography," "The Philosophy of Photography"
Walter Benjamin, "Art in the Age of Mechanical Reproduction"
**4/02** - Photography and Power: Photography as documentary, art, and commodity
Reading Materials: Pierre Bourdieu, "The Social Definition of Photography," edited by Chen Yongguo, "Visual Culture Research Reader."
John Berger, "Uses of Photography - To Susan Sontag," "The Philosophy of Photography"
Arthur Rothstein "Documentary Photography: Master Photographers and Their Ideas," Chapter 3, 4, pp. 41-74. (Background Reading)
**4/09** - Film: Art, Technology, Industry, and Social History
Reading Materials: Gilles Deleuze, Cinema 1: The Movement-Image, selected chapters
Dong Xinyu, "Between Seeing and Being Seen: A Cultural Study of Chinese Silent Films"
**4/16** - Film, Spectacle, and Mass Society
Reading Materials: Gilles Deleuze, Cinema 2: The Time-Image, selected chapters
Susan Sontag, "Fascinating Fascism," [Logang, Gu Zheng] Visual Culture Reader, pp. 102-121.
**4/23** - Television, Radio, and Information Technology: Media Public Sphere in Modern Ideals; National Identity and Public Service Broadcasting
Reading Materials: "Revisiting the Public Sphere: Time, Space, and the Production of `Broadcasting`," Journalism and Writing, 2018, Issue 6.
Raymond Williams, Television: Technology and Cultural Form, Chapter 2-4
**5/07** - Television, Everyday Narratives, and Modern Life: Interaction and integration between private and public domains; Market, Commodification, and the Fluidity of Privacy
Reading Materials: Dai Yang, Katz, "Media Events: A Live Broadcast of History," Beijing: Communication University Press, 2000.
**Unit 3: Social Criticism through Visual Materials**
**5/14** - Documentary, Reality TV, and Dissatisfaction: Market Mechanisms, Digital Technology, and the Reconstruction of Documentary Ideas (also
on live broadcasting, variety shows, and cross-media narration)
Reading Materials: John Corner, “Civic Visions: Forms of Documentary,” from Television Form and Public Address.
Mark Andrejevic, “The Kinder, Gentler Gaze of Big Brother: Reality TV in the Era of Digital Capitalism”
**5/21** - Representing the Other: How we reproduce self-awareness through the representation of the Other; Class, Gender, and Racial Relations in the representation of the Other
Reading Materials: Gilles Deleuze, Cinema 2: The Time-Image, Chapter 7, "Establishing a Critical `Representation Politics`"
Jane Collins and Catherine Lutz, “Becoming America’s Lens on the World: National Geographic in the Twentieth Century”
**5/28** - Public Images, Collective Memory, and Identity:
Reading Materials: "Walls, Screens, and Images: Analyzing the Vietnam Veterans Memorial," Visual Culture Reader, edited by Logang and Gu Zheng
Wu Jing, "Chapter 3: The Politics of Images and Historical Memory: Ethical Entanglements of Representing the `Massacre,`" Visual Expression of Cultural Modernity: Seeing, Gazing, and Gazing
**6/04** - Conclusion, Assignment Submission, and Partial Final Works Presentation
课堂讲授+讨论+田野参观
1、class participation 10%
2. group presentation 30%
3. book report or film criticism 60%
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